The Alignment of Open Access with FAIR Principles in Musicological Publishing and Teaching (original) (raw)
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Music Scholars and Open Access Publishing
Notes
Perspectives on Open Access (OA) publishing among music scholars vary considerably, ranging from those who identify as "an evangelist for open access" to those who are "totally against it." This study seeks to understand not only the OA practices of music scholars as evidenced by their scholarly output, but also their motivations and concerns, and situate these aspects within the broader disciplinary contexts that establish expectations and values for scholarly communications. Interviews with twenty-one music scholars in various subdisciplines explored experiences and motivations that led them to publish their work OA as well as factors that have discouraged them from doing so. Each participant discussed the availability of OA publishing opportunities that exist in their subdisciplines of music, how these are perceived, how they are evolving, and how they compare to opportunities in other disciplines. Participants also spoke to ways in which institutions support or value OA. LITERATURE REVIEW The benefits and hesitations around OA publishing are welldocumented in an extensive literature and will not be considered here. 1 Several studies have noted differences in publishing patterns and expectations in the arts and humanities that have implications for OA publishing. 2 Bo-Christer Jörk and Timo Korkeamäki, for example, found that in
Best versus Good Enough Practices for Open Music Research
Empirical Musicology Review, 2021
Music researchers work with increasingly large and complex data sets. There are few established data handling practices in the field and several conceptual, technological, and practical challenges. Furthermore, many music researchers are not equipped for (or interested in) the craft of data storage, curation, and archiving. This paper discusses some of the particular challenges that empirical music researchers face when working towards Open Research practices: handling (1) (multi)media files, (2) privacy, and (3) copyright issues. These are exemplified through MusicLab, an event series focused on fostering openness in music research. It is argued that the "best practice" suggested by the FAIR principles is too demanding in many cases, but "good enough practice" may be within reach for many. A four-layer data handling "recipe" is suggested as concrete advice for achieving "good enough practice" in empirical music research.
FAIR, Open, Linked: Introducing the Special Issue on Open Science in Musicology
Empirical Musicology Review
EMPIRICAL musicology crucially relies on the creation, publication, distribution, and analysis of data. Despite the progress made over the past decades in this vibrating field, numerous issues regarding the accessibility, sharing, and linkage of data, the reproducibility of research findings, and the general role of transparency remain challenging.[2] In many disciplines, these issues are addressed under the umbrella of the Open Science movement and the adherence to the FAIR (findable, accessible, interoperable, reusable) principles for scientific data management (Wilkinson et al., 2016).
Open Access and the Humanities
2014
If you work in a university, you are almost certain to have heard the term 'open access' in the past couple of years. You may also have heard either that it is the utopian answer to all the problems of research dissemination or perhaps that it marks the beginning of an apocalyptic new era of 'pay-to-say' publishing. In this book, Martin Paul Eve sets out the histories, contexts and controversies for open access, specifically in the humanities. Broaching practical elements alongside economic histories, open licensing, monographs and funder policies, this book is a must-read for both those new to ideas about open-access scholarly communications and those with an already keen interest in the latest developments for the humanities. This title is also available as Open Access via Cambridge Books Online.
The Access Principle: the Case for Open Access to Research and Scholarship by John Willinsky
SCIENCE AND PUBLIC POLICY, 2006
References 245 Index 271 viii Contents meant that the online contents of a sizable number of medical journals were suddenly available at no charge to the faculty and students at KEMRI and elsewhere. The program, known as HINARI (the Health InterNetwork Access to Research Initiative), had grown since then to encompass over 2,000 journals in the health field, and it had not been long before the initiative had registered over 1,000 institutions from 101 of the world's less fortunate countries. When I visited in June 2003, the KEMRI library had but one computer for its patrons to use with the Internet, and there was a signup sheet on a clipboard for faculty and students to place their names on to secure some time examining the wealth of literature newly available as a result of the initiative. A local university had recently sent over another six computers, which were still sitting in boxes, in an effort to help KEMRI take advantage of this boon to access the journals it needed. The sudden and radical turning point in the intellectual fortunes of KEMRI's faculty and students spoke to how the Internet was being used in innovative ways to increase access to research. HINARI offered a particular model of open access to medical literature, and it greatly strengthened KEMRI's ability to fulfill its promise as a research and training center. But the introduction of this open access approach to scholarly publishing is also having a public impact that extends well beyond the academic community. Under very different circumstances, the lead piece in the New Yorker's ''Talk of the Town'' for September 15, 2003, took issue with the educational emphasis that the U.S. government was placing on student test scores, with the scores serving as the entire measure of a school's success or failure (Gladwell 2003, 34). In driving this critique home, the item's author, staff writer Malcolm Gladwell, reached out to a study by Robert L. Linn (2003) that challenged the very reliability of the achievement tests the government was relying on. Linn's study had been published two weeks earlier in Educational Policy Analysis Archives, an open access journal from Arizona State University. The journal had not issued a press release for Linn's study, as medical journals do on occasion with breakthrough discoveries, nor had a research summary been issued. Gladwell found the study with Google, in all likelihood, and was able product of a highly talented team of undergraduates and graduate students who have come together in the Public Knowledge Project at the University of British Columbia. The principal piece of software, known as Open Journal Systems, has contributed much to my understanding of online journal processes, economics, indexing, and reading, and figures as such in this book. Additionally, this effort to build robust software that improves the quality of access to journals proved an excellent focal point for discussing the possibilities of open access publishing with researchers, editors, librarians, and publishers in many parts of the world. Open Journal Systems has turned out to be more than a talking point and a test bed for the ideas discussed in this book. It has moved beyond the proof-of-concept stage, with the assistance and encouragement of an international open source community, and is now being used to publish open access journals, as well as some subscription journals around the world, with versions now available in seven languages. Given the interest shown in this open source software, a partnership was formed in early 2005 among the Public Knowledge Project, the Canadian Center for Studies in Publishing at Simon Fraser University, and Simon Fraser University Library to oversee the long-term development of Open Journal Systems, Open Conference Systems, and the PKP Harvester. This book, however, is not about the development of publishing software; it is about the age-old question of access to knowledge. In considering what open access has to offer on that question in this book, this is a work of inquiry and advocacy. Its goal is to inform and inspire a larger debate over the political and moral economy of knowledge that will constitute the future of research. It seeks to elevate the questions currently being raised about how research is published, so that they are seen to shine a greater light on our work as scholars and as citizens of a larger world. And at this historic moment, in this transition in journal publishing from print to digital formats, the model of open access publishing challenges not only traditional methods of publishing scholarly work, but the very presence and place of this knowledge in the world. What, then, of the all-too-obvious irony of publishing a book in print and on sale in bookstores about making online research free for the world? I have published and circulated earlier versions of most of these xiv Introduction Introduction xv I wish to thank to Janice Kreider, Pia Christensen, and Anne White, who provided helpful assistance and thoughtful comments that furthered the work that has gone into this book. Many lessons about online publishing were learned from the Public Knowledge Project software team that worked on Open Journal Systems, led by Kevin Jamieson and including
If X writes an article about Y and publishes this article with publisher Z, nobody will be surprised that all of them agree upon that finally a book with this article is on the public market and subsequently on a bookshelf in private houses and libraries enriching the amount of knowledge and opinions on the subject matter. That is obviously the very aim of writing and publishing. If X records sound or video of Y and puts this recording in an archive, things seem to be different. What causes the difference? A special quality of the negotiated item? A special legal situation? Special ethic issues of the community? This paper tries to clarify the understanding and processing of knowledge provided through unconventional formats such as digital audiovisual recordings, depictions and metadata mainly used in academic research on music and sound. The discussion will focus on the complexity of philosophical thoughts on current developments and some contradictory issues found within the media market and the academic world. Observations made within the framework of a two year project at Universiti Putra Malaysia, examples from the Phonogram Archives in Vienna, Berlin, St. Petersburg and the Archives of Traditional Music in Laos will serve as examples in providing an overview of considerations to be made while dealing with audibly and/or audio-visually accessible knowledge. This study is structured in order to examine the relationship between various types of rights in the context of rapid changes in technology and subsequent attitudes towards knowledge and the ethical dimension of their application. At the end, popular misconceptions about knowledge, professionalism, and audiovisual archives will be addressed.
Classical Musicians & Copyright in the Digital Age: A Preliminary Investigation
Caml Review Revue De L Acbm, 2013
Digital technology has greatly increased access to music, both recordings and scores, protected by copyright. A large body of research addresses intellectual property (IP) issues in the recorded music industry, and Diane Parr Walker discusses how American copyright law adversely affects digital music libraries. 1 However, the use of digitally accessible scores among Canadian classical music professionals remains largely overlooked. This paper provides the background for a research project investigating the relationship between copyright law and Canadian classical musicians in the digital age. The project will use a Canada-wide survey and a series of focus groups to analyze the everyday information-seeking behaviours of classical music professionals and to examine the intellectual property policies that encourage musicians to obey or contravene the law.